Teaching Media Sexuality in Hip Hop Culture

Teaching Media
Volume I, Edition 3 (Spring 2013)
Sexuality in Hip Hop Culture
“Performance, Dialogue, and Debriefing: Examining Frank
Ocean’s Coming Out”
Amy Arellano
Aaron Duncan
University of Nebraska-Lincoln
2-33
“The Critical Vocabulary of Rap: A Feminine Voice”
Drew Lindsay
The School of the Art Institute of Chicago
34-40
“Gender and Sexuality Representations in Hip Hop”
Tia C.M. Tyree
Howard University
41-46
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Performance, Dialogue, and Debriefing: Examining Frank Ocean’s Coming
Out
Amy Arellano
Aaron Duncan
University of Nebraska-Lincoln
Rationale
Our teaching activity positions Frank Ocean coming out as a case study to engage
students in discussion of heteronormative behavior. Using performance, interactive
dialogue, and follow up debriefing, we hope to engage students in active learning by
asking them to become the voices of both oppression and empowerment. We have
compiled a variety of literature, including responses from the general public and hip-hop
community. Materials include: Ocean’s coming out letter via Tumblr, response letters
from fellow artists, comments to his twitter account, Hatetweetstofrankocean.com,
various news coverage, and parodies from the Onion and Youtube. “Narrative
performance gives shape to social relations. . . a story of the body told through the body
makes cultural conflict concrete” (Langellier, 1999). Using this material, we compiled a
reader’s theater script for students to perform and a series of discussion questions to be
used afterwards to talk about reactions of Ocean’s coming out. By creating spaces in
which students can engage in civil rights discourse, instructors can facilitate meaningful
dialogues (Orbe, 2004). In this instance dialogue that addresses LGBT rights and
homophobia. We believe that this performative approach is innovative because it taps
into the emotional and personal nature of the coming out experience by creating a contact
space, engaging students to take part in performance and drama therapy debriefing. As
Hip Hop is a performance based art form, we believe that the best way to connect to Hip
Hop is through performance rooted interpretation and dialogue.
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Complete List of Literature
Frank Ocean’s Coming out letter
Whoever you are. Wherever you are… I’m starting to think we’re a lot alike. Human
beings spinning on blackness. All wanting to be seen, touched, heard, paid attention to.
My loved ones are everything to me here. In the last year or 3 I’ve screamed at my
creator, screamed at clouds in the sky, for some explanation. Mercy maybe. For peace of
mind to rain like manna somehow. 4 summers ago, I met somebody. I was 19 years old.
He was too. We spent that summer, and the summer after, together. Everyday almost.
And on the days we were together, time would glide. Most of the day I’d see him, and his
smile. I’d hear his conversation and his silence…until it was time to sleep. Sleep I would
often share with him. By the time I realized I was in love, it was malignant. It was
hopeless. There was no escaping, no negotiating with the feeling. No choice. It was my
first love, it changed my life. Back then, my mind would wander to the women I had been
with, the ones I cared for and thought I was in love with. I reminisced about the
sentimental songs I enjoyed when I was a teenager.. The ones I played when I
experienced a girlfriend for the first time. I realised they were written in a language I did
not yet speak. I realised too much, too quickly. Imagine being thrown from a plane. I
wasn’t in a plane though. I was in a Nissan Maxima, the same car I packed up with bags
and drove to Los Angeles in. I sat there and told my friend how I felt. I wept as the words
left my mouth. I grieved for them, knowing I could never take them back for myself. He
patted my back. He said kind things. He did his best, but he wouldn’t admit the same. He
had to go back inside soon, it was late and his girlfriend was waiting for him upstairs. He
wouldn’t tell the truth about his feelings for me for another 3 years. I felt like I’d only
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imagined reciprocity for years. Now imagine being thrown from a cliff. No, I wasn’t on a
cliff. I was still in my car telling myself it was gonna be fine and to take deep breaths. I
took the breaths and carried on. I kept up a peculiar friendship with him because I
couldn’t imagine keeping up my life without him. I struggled to master myself and my
emotions. I wasn’t always successful
The dance went on.. I kept the rhythm for several summers after. It’s winter now. I’m
typing this on a plane back to Los Angeles from New Orleans. I flew home for another
marred Christmas. I have a windowseat. It’s December 27, 2011. By now I’ve written
two albums. This being the second. I wrote to keep myself busy and sane. I wanted to
create worlds that were rosier than mine. I tried to channel overwhelming emotions. I’m
surprised at how far all of it has taken me. Before writing this I’d told some people my
story. I’m sure these people kept me alive, kept me safe. Sincerely, these are the folks I
wanna thank from the floor of my heart. Everyone of you knows who you are.. Great
humans, probably angels. I don’t know what happens now, and that’s alrite. I don’t have
any secrets I need kept anymore. There’s probably some small shit still, but you know
what I mean. I was never alone, as much as it felt like it. As much as I still do sometimes.
I never was. I don’t think I ever could be. Thanks. To my first love, I’m grateful for you.
Grateful that even though it wasn’t what I hoped for and even though it was never
enough, it was. Some things never are.. and we were. I won’t forget you. I won’t forget
the summer. I’ll remember who I was when I met you. I’ll remember who you were and
how we’ve both changed and stayed the same. I’ve never had more respect for life and
living than I have right now. Maybe it takes a near death experience to feel alive. Thanks.
To my mother. You raised me strong. I know I’m only brave because you were first. So
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thank you. All of you. For everything good. I feel like a free man. If I listen closely.. I
can hear the sky falling too
-Frank
Tweets from HATETWEETSTOFRANKOCEAN.COM
lilduval tweets this:
sooooo @frank_ocean are u gon be serenading men on stage? I just wanna know so I
know when to go to the bathroom at yo show
itsbizkit tweets this:
U a faggot if u followed Frank ocean
EggandPancakes tweets this:
You made it our business with that gay ass letter... homo RT @Frank_Ocean_ My
life. My choices. My mistakes. My lessons. Not your business.
BrooklynBiscuit tweets this:
I dont even wanna kno RT @OmgThatsWellie: Now Ive seen a lot of shit I got
questions @frank_ocean are u the female or the dude w/ your boo?
Bigmoneyfeese tweets this:
@frank_ocean is a faggot and @TylerCreator thinks it is cool to be gay this is a very
sick world smfh
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The Onion: Jack Nicholson, Leonardo DiCaprio, Tom Hanks, Denzel Washington,
And Daniel Day-Lewis Come Out As GayAlso Bruce Springsteen, Beyoncé, Brian
Williams, Meryl Streep, And LeBron James• ISSUE 48•30 • Jul 25, 2012
LOS ANGELES, NEW YORK, LONDON, PARIS, CHICAGO, BOSTON, MIAMI,
ELSEWHERE—Responding to Anderson Cooper, Frank Ocean, Emma Stone, Kelsey
Grammer, Zooey Deschanel, and Jimmy Kimmel’s recent unexpected self-outings, a
galaxy of Hollywood stars, including Jack Nicholson, Leonardo DiCaprio, Tom Hanks,
Denzel Washington, and Daniel Day-Lewis, announced Tuesday that they, too, have been
homosexuals their entire lives.
"For years we have lived a closeted lifestyle, afraid of the consequences, afraid of what
the social stigma could do to our public images," said Nicholson, speaking at a press
conference alongside newly outed homosexuals Khloé Kardashian, Sylvester Stallone,
Usher, Scarlett Johansson, and Ben Kingsley. "But today we proudly join those who have
had the courage to come forward about their sexual orientation, among them Ron
Howard, Nicki Minaj, Jessica Biel, Tim McGraw, Connie Chung, Sir Ian Holm, Busta
Rhymes, and Peyton Manning."
Monday's announcements reportedly came as a surprise to the many fans of the
homosexual celebrities, especially those of Nicholson and DiCaprio, who have famously
cultivated "ladies' man" images. In addition, fans of LeBron James, Harrison Ford, Paris
Hilton, Howard Stern, Ben Affleck, and David Lee Roth expressed shock.
At press time, representatives for many of the stars, including Ben Stein, have requested
various combinations of privacy, support, tolerance, and pro-LGBT activism.
Another small sampling of famous American public figures who came out of the closet
this week.
"After years of secrecy, we started thinking it was foolish to stay closeted, especially
after Tyra Banks, Vince Vaughn, Elisabeth Hasselbeck, Jon Hamm, Carrie Underwood,
Channing Tatum, Tom Brady, Gwen Stefani, and Leighton Meester had spoken up," read
a joint statement from Robert Redford, Kenny Rogers, and Amanda Byne, which also
cited the bravery of Renée Zellweger, Jake Gyllenhaal, Ashlee Simpson, and Clive Owen
as an inspiration for going public. "That, along with the announcement by the Ernest
Borgnine estate, helped us see that we were not alone—that in fact it would be damned
hard to be alone if we ever wanted to be."
In the wake of the ongoing media frenzy surrounding the widespread outings, a large
number of C-list and minor celebrities have also confirmed their homosexuality. By 8
a.m. Wednesday, Facts Of Life co-star Nancy McKeon, Journey bassist Ross Valory,
Hardcore Pawn star Les Gold, first-ever Who Wants To Be A Millionaire? winner John
Carpenter, "Balloon Boy" hoaxer Richard Heene, former Buffalo Sabres forward Yuri
Khmylev, and cartoon voice-over artist Rob Paulsen had all come out, and statements
were believed to be forthcoming from former Saturday Night Live featured player Beth
Cahill, Motel 6 spokesman Tom Bodett, Angry Video Game Nerd star James Rolfe,
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Chicago Cubs playoff-game spoiler Steve Bartman, Aliens co-star Carrie "Newt" Henn,
and Greg "Shock G" Jacobs of Digital Underground.
"These confessions come at the perfect time," said People magazine managing editor
Larry Hackett, responding to the initial disclosures as well as to the second and third
wave of announcements from Paul Simon, David Blaine, Zsa Zsa Gabor, Prince Harry of
Wales, Danny Bonaduce, David Brenner, Mickey Rooney, George Clinton, and Julia
Louis-Dreyfus. "With American citizens, governments, and companies increasingly
overcoming their prejudices and becoming gay-friendly, there is no better time for these
stars—or for Val Kilmer, Michelle Kwan, Aaron Sorkin, and Billy Crystal—to come
right out and say they're gay."
"Between you and me, I had a feeling about Michael Phelps, Jonathan Franzen, Norah
Jones, The Rock, Dick Cavett, Billy Zane, Chick Corea, and Jackie Chan," Hackett
added. "But Fiona Apple, Steve Lawrence, and Buck Henry? Wow."
With Western culture shaken to its foundations, President Obama attempted to restore
calm, responding with approval to the mass exodus from closets across the nation.
"America is a place that guarantees the pursuit of happiness, whether it's for an
anonymous factory worker or openly gay men and women like Rob Reiner, Carl Reiner,
Mary-Kate Olsen, Samuel L. Jackson, Moby, Vivica A. Fox, Gov. Gary Herbert of the
great state of Utah, or Matt Lauer," Obama said in a speech yesterday afternoon. "We are
long past the days of being shocked at homosexuals in our neighborhoods, our places of
work, or even in the White House. Yes, I am gay. And so is my wife, Michelle. And my
daughters are lesbians. And we proudly stand alongside David Ortiz, Wes Anderson, Hal
Linden, Dr. Joyce Brothers, John Rhys-Davies, Forest Whitaker, Matisyahu, James
Garner, Jeff Goldblum, and Lisa Marie Presley."
"And Dionne Warwick," the president added.
"And Freddie Prinze Jr., Nikki Sixx, Drew Barrymore, 50 Cent, Hulk Hogan, Art Bell,
Philip Roth, and Penn Jillette," he continued. "And Josh Groban."
Not all reactions have been positive, however. A statement from the Rev. Fred Phelps of
the Westboro Baptist Church warned that "every last member of Satan’s legion of
miserable homo sinners, including eight of my 13 children and myself, will not escape
God's judgment."
Still, the vast majority of people have been supportive, perhaps none more so than actor
Hugh Jackman, who last night tweeted, "2 this week's many out celebs: though I have
always been straight, u have my support and admiration."
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Hip-Hop's Anti-Gay Tone Shifting After Frank Ocean's Coming Out
By MESFIN FEKADU 08/23/12 02:27 PM ET
NEW YORK — Snoop Dogg has rapped in songs where gay slurs have been tossed
about.
He's even said them, part of a long list of rappers who have freely used the f-word – the
other f-word – in rhyme.
For years, anti-gay epithets and sentiments in rap have largely been accepted, along with
its frequent misogyny and violence, as part of the hip-hop culture – a culture that has
been slow to change, even as gays enjoy more mainstream acceptance, particularly in
entertainment.
But while perhaps glacial, a shift appears to be on the horizon.
"People are learning how to live and get along more, and accept people for who they are
and not bash them or hurt them because they're different," Snoop Dogg said in a recent
interview.
Frank Ocean may be largely responsible for that. The rising star, who revealed on his
blog last month that his first love was a man, is technically an R&B singer. But he has
produced and collaborated with some of music's top hip-hop acts, from Jay-Z to Andre
3000 to Kanye West to Nas. He's also co-written songs for Beyonce, Justin Bieber and
John Legend, and is a member of the alternative rap group Odd Future.
"When I was growing up, you could never do that and announce that," Snoop said of
Ocean's revelation. "There would be so much scrutiny and hate and negativity, and no
one would step (forward) to support you because that's what we were brainwashed and
trained to know."
When 24-year-old Ocean made his announcement, he received a ton of support from the
music world, mainly through Twitter and blogs, including encouraging words from 50
Cent, Nas, Jamie Foxx, Def Jam Records founder Russell Simmons, Beyonce and Flea of
the Red Hot Chili Peppers. Even Ocean's Odd Future band mate, Tyler, the Creator,
showed some love, though he's used homophobic slurs in his songs.
"(The support for Frank is) an extension of the overall kind of support we're seeing across
the country for LGBT people, and not just in a broad sense, but specifically from iconic
members of the black community," said Daryl Hannah, GLAAD's director of media and
community partnerships, who namedropped President Barack Obama and Jay-Z as those
leading the change.
While the support for Ocean is strong, and some rappers – including Nicki Minaj – have
said a gay rapper will soon hit the music scene, it's still hard to imagine that the maledominated, macho rap world could include a gay performer.
Anti-gay sentiments have been entrenched in hip-hop for decades. Darryl "D.M.C."
McDaniels of the iconic rap group Run D.M.C., says it was the norm for years.
"You would have had 50 rappers jump on a song, diss the gay people because it's cool,"
said D.M.C.
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That attitude has abated little, even as other parts of the entertainment industry have
curtailed what many consider to be anti-gay material. (Last year, Universal Pictures
altered a trailer for the movie "Dilemma" because a character called a car "gay.")
Eminem was targeted by groups like GLAAD for his incessant slurs against gays, a role
that now seems to be embodied by Tyler, the Creator, in his raps. Lil Wayne recently
used the f-word on Chris Brown's "Look at Me Now," a Grammy-nominated Top 10 pop
hit and No. 1 rap and R&B song. There are also terms like "no homo" and "pause" used
in the hip-hop community after an utterance to acknowledge that what was said does not
have any homosexual intent.
Wu-Tang Clan has had a number of songs that contain the f-word. In an interview, WuTang's Ghostface Killah recently explained the genre's stance toward gays like this: "For
the most part I think that hip-hop is, you know, we always have been open-minded to a
lot of things. It's just certain things we just – we don't deal with."
When asked if a gay rapper could make it in hip-hop, Raekwon, another Wu-Tang
member, said: "I mean, I don't know. I guess that's a question we all want to know."
When asked the same question, Snoop said with a laugh: "There might be some openly
gay rappers in hip-hop that's having success – for real. You never know. There might be
some(one) right now that hasn't pulled a Frank Ocean yet, that hasn't jumped out of the
closet to the living room to make that announcement."
Ice-T said he could see a gay rapper on the scene – depending on what kind of rap he or
she performed. "I've done hardcore hip-hop in my life where masculinity is at a
premium. At this moment right now, we're in the world of pop-rap and it doesn't really
matter right now. These guys are singing, it's pop music and being in pop and gay is OK,"
he said. "It would be difficult to listen to a gay gangster rapper ... If you're a gangster
rapper like myself and Ice Cube ... if one of us came out and said something, that would
be a big thing. That would be like, `Whoa! What?'"
But some of hip-hop's key figures have given some kind of support to the gay
community. Pharrell recently collaborated with the openly gay pop singer Mika on the
song "Celebrate." Jay-Z, like Eminem, has said people of the same sex should be able to
love one another. Eminem performed with Elton John at the 2001 Grammy Awards at the
height of GLAAD's criticism.
D.M.C. is skeptical about some of hip-hop's recent support of Ocean, since he believes
homophobia is still rampant in the culture. Still, he is sure a homosexual hip-hop act will
emerge: "Of course there's going to be a gay rapper." He said that a rapper's success
would be determined not by his sexuality, but by the quality of his raps.
Shaheem Reid, a veteran hip-hop journalist, said the inroads that gays have made in
mainstream culture have made a dent in the rap world: "Hip-hop is just a reflection of
what's going on."
He added that gay rappers can gain mainstream exposure, but that will come with
challenges.
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"I think that if the music is great enough and the topics are great enough, there's a slight
chance," said Reid, who is editor-at-large for hip-hop's XXL magazine. "If there was a
homosexual emcee, male or female, I don't think that talking about them being gay or
lesbian could be the only substance in their music."
___
AP Writers Cristina Jaleru and Zara Younis in London contributed to this report.
___
Follow Mesfin Fekadu on Twitter at http://www.twitter.com/musicmesfin
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Gay Chicago TV Tackles LGBTQ Visibility and the Many Faces of Coming Out
Posted: 07/16/2012 9:10 pm
In recent days we've seen some very high-profile people come out in many different
fields -- like CNN's Anderson Cooper, R&B singer Frank Ocean, Jamaican singer Diana
King, and Olympic soccer player Megan Rapinoe. While Cooper may have received the
most attention, I think all these stories have a greater impact than many in the media are
giving them credit for.
That was the discussion that took place on Gay Chicago TV's Critical Thinking, in this
week's media roundtable with journalists Kate Sosin of Windy City Times and Joe
Erbentraut of HuffPost Chicago. While one might think that three journalists discussing
the politics of coming out and LGBT visibility would naturally gravitate toward
Anderson Cooper, the in-depth conversation actually pivoted quickly to delve deeper into
issues of diversity, media stereotypes, and the importance of looking at the greater story
behind the headlines of such a diverse group coming out.
While Ocean, King, and Rapinoe didn't get the same attention as Anderson Cooper, it
quickly became apparent that their coming-out stories might actually be of more
importance. Beyond just the news of someone like Cooper, who comes into people's
living rooms every day on television, people like Ocean, King, and Rapinoe coming out
in traditionally closeted professions and fields like sports and hip-hop can reach a swath
of Americans that may not be tuned-in to or even familiar with LGBT issues. It also helps
combat opponents of queer visibility who seek to demonize our community, like One
Million Moms, which the show also takes on, criticizing the group's background and
efforts.
Too often we see the queer community literally white-washed; faces of middle- or upperclass white men are what are predominately used in pop culture or in the media. This
furthers an untrue stereotype of queer people as rich, white, gay elites, when our
community is actually incredibly diverse, crossing racial, socioeconomic, and genderexpression lines. Telling the stories and honoring the coming-out struggles of people of
color like Frank Ocean and Diana King, or of people who challenge gender roles like
Megan Rapinoe, is extremely important.
While many in the LGBT community may question the need to come out in this time of
great change and social progress, such questions really speak to a feeling of comfort and
privilege that far too many in the queer community simply do not share. To say that there
is little or no value to coming out, or that such declarations are "passé," is to deny the
need to see the many faces of our community -- and not just ones that look like Anderson
Cooper. Yes, his story and his visibility are important, but his coming out shouldn't be
given precedent over the brave declarations of people who represent parts of our
community that too often get shoved to the side.
It's an important conversation that we need to have in the LGBT community and in the
media world, and a lot was added to it by simply sitting down and discussing the issues
together at a political roundtable.
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Now it's time for all of us to join the conversation.
You can watch full episode of Critical Thinking, hosted by Waymon Hudson, online, with
new episodes added every second and fourth Thursday of the month.
Jay-Z, Tyler The Creator, and more speak out about Frank Ocean's sexuality The
July 5th, 2012
Examiner.com
By Natalie Kuckik
On July 4 Odd Future member and singer-songwriter Frank Ocean posted on his Tumblr
page that his first love was a man. Since the post, Ocean has received an abundance of
support from public figures such as Jay-Z, Tyler, The Creator, and Russell Simmons.
On his Tumblr page Ocean wrote, "Four summers ago, I met somebody. I was 19 years
old. He was too. We spent that summer, and the summer after, together. Every day
almost, and on the day we were together, time would glide. Most of the day I'd see him,
and his smile. By the time I realized I was in love, it was malignant. It was hopeless."
Despite having written the open letter in December of 2011 it was posted in July of 2012,
just weeks before his debut studio album, "Channel Orange" is set to be released. The
letter could be due to the lyrical content in his album and that reviews are coming out
expressing how the singer used pronouns like "him" instead of "her."
Russell Simmons wrote an open statement on Global Grind about Ocean's post. Simmons
wrote, "I am profoundly moved by the courage and honesty of Frank Ocean. Your
decision to go public about your sexual orientation gives hope and light to so many
young people still living in fear. These types of secrets should not matter anymore, but
we know they do, and because of that I decided to write this short statement of support
for one of the greatest new artists we have."
The hip-hop collective Odd Future is led by Tyler, The Creator and he too wrote a
response to Ocean's blog. Tyler, The Creator tweeted, "My Big Brother Finally F**king
Did That. Proud Of That Ni**a Cause I Know That S**t Is Difficult Or Whatever."
Hip-hop artist Jay-Z took to his official website Life + Times to write about Frank
Ocean's decision to reveal his sexuality. Jay-Z wrote, "We admire the great courage and
beauty and fearlessness in your coming out, not only as a bisexual Black man, but as a
broken hearted one. The tender irony that your letter is to a boy who was unable to return
your love until years later because he was living a lie is the only truly tragic detail about
your letter."
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An Open Letter To Frank Ocean From Author Terrance Dean
Jul 5, 2012 By Terrance Dean
An open letter to Frank Ocean:
Over the course of the past few days I read on the blogs, and saw a few tweets chattering
about an R&B artist coming out. Your name surfaced, along with an interview you did
overseas, and then you wrote on Tumblr about a relationship you had four years ago
with a young man. You shared how it changed your life, and how that young man was
your first love.
Initially, when I first heard the news about an R&B artist coming out I wasn’t moved. I
actually thought it was a hoax created by someone. As we all know how well internet
gossip fuels outings, pre-mature deaths, and other lies about celebrities. So, I dismissed it.
I was waiting for you, or your publicist, to issue their pre-made ready-to-go written
statement For Artists Who Are Considered Gay When The Rainbow Is Not Enuff: “I am
not gay. I am a heterosexual man, and I love women.” However, that didn’t happen. You
actually responded to your legion of fans, and the world, by announcing your love and
declaration affirming yourself in a new era Hip Hop world that is drifting toward a new
normal that is no longer filled with the hetero masculine machismo that despises
homosexuality.
You see, in 2008, my book was released, Hiding In Hip Hop: On The Down Low in the
Entertainment Industry From Music to Hollywood. It’s my memoir detailing my life of
working in the entertainment industry, and being privy to many friendships with a
number of closeted celebrities, as well as a few relationships I shared with most of them.
So, the news of an R&B artist coming out and admitting his true sexuality was not a
shock to me. I actually have been awaiting the day, counting down the hours and minutes
as to when one of my friends, or past lovers, would be brave enough to come forward and
make a public announcement (My inhale continues to expand). But, it wasn’t one of
them. No. It was someone younger. Much braver. An artist who isn’t hindered by the old
relics of Hip Hop, or the entertainment school of, “Don’t you come out or it will ruin
your career,” and the record label politics. It was YOU. Someone who recognizes their
own uniqueness and the power they have to change a world with their honesty and truth.
It was you Frank Ocean. A trailblazer. A journeyman. A true lyricist. An artist. A
pioneer. A hero.
So, I want to thank you, Mr. Frank Ocean, for your courageousness. It takes a brave soul
to come forth in truth, and in love, despite what the rest of the world is doing or feeling as
“flavor of the week,” as legendary soul singer, Maze, recently said in a speech at the
2012 BET Awards.
The mirror image you’re reflecting to the world gives us a new vision to aspire to. Your
grace and ability to stand in your truth, and BE who you are called to BE, give others the
courage and strength to be unafraid and be FREE. Thank you for not playing small, or
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even allowing yourself to be small. You’re too BIG, and nothing can contain your
SPIRIT for it is your CALLing to give us this moment. Right here. Right now. There are
many young people, even mature people, who are struggling with their sexual identity,
and are afraid to step out of the shadows for fear of being judged, criticized, or ridiculed.
Every day the fear grips and chokes them, just as it once did to you. So, please know that
they are watching, reading, and listening to you, and the declaration you’re making. A
black man in Hip Hop, who looks like them, speaks like them, and realized his dreams
despite of the backlash or BS others tend to hold on to because of their own prejudices
against same gender loving people. You boldly refuse to be bound by others, and in that
declaration you are giving others hope and courage to be their authentic selves. Being
black and gay so many times we hear, “No,” and “You can’t,” or, “It’s impossible.” Yet,
your music and voice is heard around the world on radio channels, you’ve performed in
stadiums before hundreds and thousands of people, and club DJs bang your songs while
men and women, straight, gay, and bi, bop their heads and two-step to YOUR GROOVE.
Yes, that is POWER-FULL!
What many people don’t understand is that coming out is a process. Though it is a
process that is formed in our BEings, and shaped into our purpose, however, it takes
KNOWing SELF, and BEcoming TRUTH-FULL within one’s self in order to be able to
share it with others. No one can make you do it before your time. It is not up to them. It’s
up to the CREATOR, and HIS will, and the moment HE knows YOU are ready to be
responsible of the task and gift to give to the world. This is YOUR time.
Your gift has, and, is being revealed right before our eyes, and we are bearing witness to
it. Every time you’ve opened your mouth we’ve heard it in your songs. Your melodic,
smooth, and hypnotic voice lingering gingerly with the beats blending perfectly to tell us
about love, happiness, hopefulness, and starting again. Thank you for the gift of your
voice, and for understanding how to use it.
I also want to thank you for being open, vulnerable, and FRANK regarding your first
love with another man. What a powerful testament in bearing your soul, and being
emotional, open, and so revealing for the entire world to see, especially your emotions,
and feelings for another man. Your letter was truly heartfelt. Thank you for your honesty.
Yes, we all know about first loves. The ones we’d walk to the earth’s end for. The ones
whose voice, smell, and touch gives us a reason to live and look forward to until the next
moment we see them again. It’s hard loving someone so much and they don’t even know
the depth of your love, and how you’ll give your heart to them, and even lay down and
die for them. It’s hard because as you’ve stated so eloquently in your letter that when you
were finally able to say the words letting that young man know how you felt about him,
and his response was a pat on the back and him saying how he could not return the love, I
knew that moment. I knew that experience. I could relate, as well as many of your fans
who have experienced love and love lost. We’ve all been there sharing our hearts, words,
thoughts, yet, the other person responds with a non-empathetic response. They don’t get
it. They don’t understand that it took so much courage, and us fighting through our fears
to be vulnerable and in a space where we once were afraid to go. However, for some
14
ODD reason you felt the strength and courage to reveal all because you wanted to be free,
floating, and living in that forever euphoric space that they made you feel whenever they
were around. But, they tell you that they cannot love you the way you love them. They
can’t be or give you what you want them to be. Your world stops. The sky falls. The
earth sinks. The air goes stale, and you can’t breathe. The life has been sucked out of you
and you know there will be no more tomorrows because there will be no more anything.
Yet, you’ve found the strength from a loving and nurturing support system of friends,
loved ones, and family who healed you through. They lifted you, inspired you, and
encouraged you. And, in the power of your BEing you were able to rise, lift the earth, and
connect us to you with your symphonic music and tantalizing lyrics. Simply because you
acknowledged your greater SELF which you stated at the end of your letter, “I don’t have
any secrets I need kept anymore…I feel like a free man.” POWER-FULL!
Just as singer, Adele, wailed with an open wounded heart on her 21 album, singing about
a rejected love, and Mary J. Blige, cried out with a soulful blues of an unrequited love on
her, My Life album, their vulnerability connected them with their fans. Just as you have
done with your letter. And, yes, there are many artists who have made songs about former
lovers, ill-fated relationships, and love lost, but Mary J. Blige and Adele touched the
souls of folks like an old Negro spiritual. And, in that connectedness their truths
catapulted them to superstardom. My hope and prayer for you is that your new album,
Channel Orange, in which reviewers say that many of the songs are an ode to a love lost
with another man, will have the same effect as 21 and My Life did on the lives of music
fans around the world, and it catapult you into the superstar stratosphere where you
belong.
Thank you, Frank Ocean, for inviting us into your space, and giving us the opportunity to
know you emotionally, spiritually, and humanly.
Warmly,
Terrance Dean
15
Protest Today: A Field Guide By Jeffery Gitlan
I am tired of hearing people call our movement today’s civil rights movement.
The LGBT movement is a different protest shrouded in silence and crucified publicly by
holy verses giving voice vendetta.
I am not trying to say the MLK had it easy, but he knew who his enemies were, they
wore hoods cloaked in hate and warned that the civil rights movement should be
cautious of Caucasians.
MLK assumed those of light skin could be categorized as either the bigots that met his
protest on Bloody Sunday or the cowards that sat on the white picket fence saying they
supported the movement when asked privately, but would vote against equal rights in
their living rooms and ballot booths.
MLK knew the limitations of his protest and had a face for who was against him and who
was on his side. My brother, we do not have the same luxury, no we cannot tell by
looking at someone if they are part of our family, our battle.
Instead we have people denying themselves rights as they live within their closets. They
think the victories of Ellen or Anderson Cooper are enough, that someone else will fight
their fight as long as they promise they won’t eat at Chik-Fil-A or shop at Target. They
ignore the fact that we need to mobilize, come together and identify ourselves for the
battle. But we are afraid, a generation that remembers what happens to Matthews that are
out or Teena Brandons that are open. We are a generation that hears of youth choosing
suicide instead of being called fag because they do not have an army, no movement to
protect them. We are afraid because our enemy also does not wear a name tag, but stays
hidden in a cloak of anonymity that goes viral through social media. We are unsure which
side is causing more damage: The side that will not speak or the side that only speaks
with hate.
We see movements to wipe out homophobia on Facebook, but that’s so gay, no homo,
and fag decorate millions of Facebook walls. Supreme Courts decide Fred Phelp’s is
protected under the first amendment. Phelp’s will use his voice with no qualms, but will
you claim your membership into a group not identified by race, sex, religion, or creed.
Instead only bound by humans should have the right to love. Choosing to be united only
by the most important quality that matters…Voice.
16
Flobots – There is a War going on for your mind Media mavens mount surgical strikes from trapper keeper collages and online magazine
racks
Cover girl cutouts throw up pop-up ads
Infecting victims with silicone shrapnel
Worldwide passenger pigeons deploy paratroopers
Now it's raining pornography
Lovers take shelter
Post-production debutantes pursue you in Nascar chariots
They construct ransom letters from biblical passages and bleed mascara into the holy
water
supplies
There's a war going on for your mind
Industry insiders slang test tube babies to corporate crack heads
They flash logos and blast ghettos
Their embroidered neckties say "Stop Stitching"
Conscious rappers and whistle blowers get stitches made of acupuncture needles and
marionette
strings
There is a war going on for your mind
Professional wrestlers and vice presidents want you to believe them
The desert sky is their blue screen
They superimpose explosions
They shout at you
"Pay no attention to the men behind the barbed curtain
Nor the craters beneath the draped flags
Those hoods are there for your protection
And meteors these days are the size of corpses"
There's a war going on for your mind
We are the insurgents
17
Heather Zydek: Revolutionary Field Manual
I am not a social worker, professional activist, or sociopolitical scholar. I’m just a
journalist with a specialty in community and social justice reporting who happens to find
myself asking the same questions over and over again about service, voluntarism and
charity. In all the ruminating I’ve done, I’ve come to some basic conclusions about
myself and, perhaps to a certain extent, my generation when it comes to charity. Our
generation is moved by intense, dramatic displays of horror and injustice – and we may
be willing to open up a vein and start giving until we’re drained of all of our blood…for a
few days anyway. Then the memory fades as quickly as our favorite cable news network
jumps to another set of news alerts, and for us, life soon moves on to more exciting
things. The key for any protest movement is to inspire and motivate individuals to go
from the comfort of their homes to the chaos of the streets and face off against the
government. Social media allow organizers to involve like-minded people in a movement
at a very low cost, but they do not necessarily make these people move.
18
Readers Theatre Performance of Frank Ocean Case Study
Heather Zydek
I am not a social worker, professional activist, or sociopolitical scholar. I’m just a
journalist with a specialty in community and social justice reporting who happens to find
myself asking the same questions over and over again about service, voluntarism and
charity. In all the ruminating I’ve done, I’ve come to some basic conclusions about
myself and, perhaps to a certain extent, my generation when it comes to charity.
Flobots- There is a War going on for your Mind
There's a war going on for your mind
Media mavens mount surgical strikes from trapper keeper collages and online magazine
racks
Worldwide passenger pigeons deploy paratroopers
Now it's raining pornography
Lovers take shelter
They construct ransom letters from biblical passages and bleed mascara into holy water
supplies
Frank Ocean Coming Out
Whoever you are, where ever you are, I’m starting to think we’re a lot alike. Human
beings spinning on blackness. All wanting to be seen, touched, heard, paid attention to.
My loved ones are everything to me here. In the last year or three, I’ve screamed at my
creator, screamed at clouds in the sky for some explanation. Mercy maybe. For peace of
mind to rain like Manna somehow.
Four summers ago, I met somebody. I was 19 years old; he was too.
Terrance Dean
Initially, when I first heard the news about an R&B artist coming out I wasn’t moved. I
actually thought it was a hoax created by someone. As we all know how well internet
gossip fuels outings, pre-mature deaths, and other lies about celebrities. So, I dismissed it.
I was waiting for you, or your publicist, to issue their pre-made ready-to-go written
19
statement For Artists Who Are Considered Gay When The Rainbow Is Not Enuff: “I am
not gay. I am a heterosexual man, and I love women.” However, that didn’t happen. You
actually responded to your legion of fans, and the world, by announcing your love and
declaration affirming yourself!
Huffington Post: Mesfin Fekadu: Journalist 2
Snoop Dogg has rapped in songs where gay slurs have been tossed about.He's even said
them, part of a long list of rappers who have freely used the f-word – the other f-word –
in rhyme.
For years, anti-gay epithets and sentiments in rap have largely been accepted, along with
its frequent misogyny and violence, as part of the hip-hop culture – a culture that has
been slow to change, even as gays enjoy more mainstream acceptance, particularly in
entertainment.
But while perhaps glacial, a shift appears to be on the horizon.
"People are learning how to live and get along more, and accept people for who they are
and not bash them or hurt them because they're different. When I was growing up, you
could never do that and announce that," Snoop said of Ocean's revelation. "There would
be so much scrutiny and hate and negativity, and no one would step (forward) to support
you because that's what we were brainwashed and trained to know."
Heather Zydek
Our generation is moved by intense, dramatic displays of horror and injustice – and we
may be willing to open up a vein and start giving until we’re drained of all of our
blood…for a few days anyway. Then the memory fades as quickly as our favorite cable
news network jumps to another set of news alerts, and for us, life soon moves on to more
exciting things.
The Onion: Journalist
LOS ANGELES, NEW YORK, LONDON, PARIS, CHICAGO, BOSTON, MIAMI,
ELSEWHERE—Responding to Anderson Cooper, Frank Ocean, Emma Stone, Kelsey
Grammer, Zooey Deschanel, and Jimmy Kimmel’s recent unexpected self-outings, a
galaxy of Hollywood stars, including Jack Nicholson, Leonardo DiCaprio, Tom Hanks,
Denzel Washington, and Daniel Day-Lewis, announced Tuesday that they, too, have been
homosexuals their entire lives.
"For years we have lived a closeted lifestyle, afraid of the consequences, afraid of what
the social stigma could do to our public images,But today we proudly join those who
have had the courage to come forward about their sexual orientation,."
Monday's announcements reportedly came as a surprise to the many fans of the
homosexual celebrities, especially those of Nicholson and DiCaprio, who have famously
20
cultivated "ladies' man" images.At press time, representatives for many of the stars, have
requested various combinations of privacy, support, tolerance, and pro-LGBT activism.
In the wake of the ongoing media frenzy surrounding the widespread outings, a large
number of C-list and minor celebrities have also confirmed their homosexuality. By 8
a.m. Wednesday, Facts Of Life co-star Nancy McKeon, Journey bassist Ross Valory,
Hardcore Pawn star Les Gold, first-ever Who Wants To Be A Millionaire? winner John
Carpenter, "
Single Man
Let’s leave the Jews out of this for a moment and think of another minority. One that can
go unnoticed if it needs to.There are all sorts of minorities, blondes for example, but a
minority is only thought of as one when it constitutes some kind of threat to the majority.
A real threat or an imagined one. And therein lies the FEAR. And, if the minority is
somehow invisible... ...the fear is even greater. And this FEAR is the reason the minority
is persecuted. So, there always is a cause. And the cause is FEAR. Minorities are just
people. People... like us. I can see that Iʼve lost you a bit.
You know what? Letʼs just talk about fear. Fear, after all, is our real enemy. Fear is
taking over our world. Fear is being used as a tool of manipulation in our society. Itʼs
how politicians peddle policy and how Madison Avenue sells us things that we donʼt
need. Think about it. Fear that weʼre going to be attacked, fear that there are communists
lurking around every corner, fear that some donʼt believe in our way of life poses a threat
to us. Fear that black culture may take over the world. Well, maybe that one is a real fear.
Fear that our bad breath might ruin our friendships... Fear of growing old and being
alone. Fear that weʼre useless and that no one cares what we have to say.
Heather Zydek
The key for any protest movement is to inspire and motivate individuals to go from the
comfort of their homes to the chaos of the streets and face off against the government.
Social media allow organizers to involve like-minded people in a movement at a very low
cost, but they do not necessarily make these people move.
HATE TWEETS
lilduval tweets this:
sooooo @frank_ocean are u gon be serenading men on stage? I just wanna know so I
know when to go to the bathroom at yo show
21
itsbizkit tweets this:
U a faggot if u followed Frank ocean
22
Jay-Z Response
You were born in the ‘80s, when gay rights activist were seizing the streets of New York
and other major world cities, fighting for visibility and against a disease that threatened to
disappear them. The cultural shifts created from those struggles in some ways make your
revelation about your fluid sexuality less shocking than it would have been decades
before. Still, there are real risk with coming out as a man loving a man. I hope you hear
and are reading the hundreds of thousands of people who have your back
HATE TWEETS
EggandPancakes tweets this:
You made it our business with that gay ass letter... homo RT @Frank_Ocean_ My
life. My choices. My mistakes. My lessons. Not your business.
BrooklynBiscuit tweets this:
I dont even wanna kno RT @OmgThatsWellie: Now Ive seen a lot of shit I got
questions @frank_ocean are u the female or the dude w/ your boo?
23
Russell Simmons Response
"I am profoundly moved by the courage and honesty of Frank Ocean. Your decision to go
public about your sexual orientation gives hope and light to so many young people still
living in fear. These types of secrets should not matter anymore, but we know they do,
and because of that I decided to write this short statement of support for one of the
greatest new artists we have."
HATE TWEETS
Bigmoneyfeese tweets this: @frank_ocean is a faggot and @TylerCreator thinks it is
cool to be gay this is a very sick world smfh
24
Protest Today: A Field Guide By Jeffery Gitlan
I am tired of hearing people call our movement today’s civil rights movement.
The LGBT movement is a different protest shrouded in silence and crucified publicly by
holy verses giving voice vendetta. Instead we have people denying themselves rights as
they live within their closets. They think the victories of Ellen or Anderson Cooper are
enough, that someone else will fight their fight as long as they promise they won’t eat at
Chik-Fil-A or shop at Target. They ignore the fact that we need to mobilize, come
together and identify ourselves for the battle. But we are afraid, a generation that
remembers what happens to Matthews that are out or Teena Brandons that are open. We
are a generation that hears of youth choosing suicide instead of being called fag because
they do not have an army, no movement to protect them. We are afraid because our
enemy also does not wear a name tag, but stays hidden in a cloak of anonymity that goes
viral through social media. We are unsure which side is causing more damage: The side
that will not speak or the side that only speaks with hate.
The Onion: Journalist
"These confessions come at the perfect time," said People magazine managing editor
Larry Hackett, responding to the initial disclosures as well as to the second and third
wave of announcements with American citizens, governments, and companies
increasingly overcoming their prejudices and becoming gay-friendly, there is no better
time for these stars to come right out and say they're gay."
With Western culture shaken to its foundations, President Obama attempted to restore
calm, responding with approval to the mass exodus from closets across the nation.
"America is a place that guarantees the pursuit of happiness, whether it's for an
anonymous factory worker or openly gay men and women. We are long past the days of
being shocked at homosexuals in our neighborhoods, our places of work, or even in the
White House."
Frank Ocean’s letter
25
By now I’ve written two albums. This being the second. I wrote to keep myself busy and
sane. I wanted to create worlds that were rosier than mine. I tried to channel
overwhelming emotions. I’m surprised at how far all of it has taken me. Before writing
this I’d told some people my story. I’m sure these people kept me alive, kept me safe.
Sincerely, these are the folks I wanna thank from the floor of my heart. Everyone of you
knows who you are.. Great humans, probably angels. I don’t know what happens now,
and that’s alrite. I don’t have any secrets I need kept anymore. There’s probably some
small shit still, but you know what I mean. I was never alone, as much as it felt like it. As
much as I still do sometimes. I never was. I don’t think I ever could be. Thanks. To my
first love, I’m grateful for you. Grateful that even though it wasn’t what I hoped for and
even though it was never enough, it was. Some things never are.. and we were. I won’t
forget you. I won’t forget the summer. I’ll remember who I was when I met you. I’ll
remember who you were and how we’ve both changed and stayed the same. I’ve never
had more respect for life and living than I have right now. Maybe it takes a near death
experience to feel alive. Thanks. To my mother. You raised me strong. I know I’m only
brave because you were first. So thank you. All of you. For everything good.
Terrance Dean
An artist who isn’t hindered by the old relics of Hip Hop, or the entertainment school of,
“Don’t you come out or it will ruin your career,” and the record label politics. It was
YOU. Someone who recognizes their own uniqueness and the power they have to change
a world with their honesty and truth. It was you Frank Ocean. A trailblazer. A
journeyman. A true lyricist. An artist. A pioneer. A hero.
The mirror image you’re reflecting to the world gives us a new vision to aspire to. Your
grace and ability to stand in your truth, and BE who you are called to BE, give others the
courage and strength to be unafraid and be FREE. Thank you for not playing small, or
even allowing yourself to be small. There are many young people, even mature people,
who are struggling with their sexual identity, and are afraid to step out of the shadows for
fear of being judged, criticized, or ridiculed. Every day the fear grips and chokes them,
just as it once did to you. So, please know that they are watching, reading, and listening
to you, and the declaration you’re making. A black man in Hip Hop, who looks like
them, speaks like them, and realized his dreams. You boldly refuse to be bound by others,
and in that declaration you are giving others hope and courage to be their authentic
selves.
So, I want to thank you, Mr. Frank Ocean, for your courageousness. It takes a brave soul
to come forth in truth, and in love, despite what the rest of the world is doing or feeling as
“flavor of the week,”.
26
Discussion Questions
1. What surprised you in the Frank Ocean case study?
2. How did you react to the news of Frank Ocean’s coming out when you heard it?
3. How is sexuality talked about within the Reader’s Theatre? How is this like the
other conversation you’ve heard about sexuality? How is it different?
4. How does the hip-hop culture typically speak about sexuality? How does this
compare to the Frank Ocean case study?
5. How does the Frank Ocean case study relate to the LGBT social movement?
6. The Reader’s Theatre discusses the ‘coming out’ process: what does this mean to
you?
7. Were you surprised by the reaction to Ocean’s coming out by members of the
public and hip-hop community? What, if anything surprised you? Whose
opinions did you find yourself agreeing with the most?
8. What things do you believe Frank Ocean considered prior to coming out? What
were the risks? What were the benefits? Was twitter an appropriate medium for
him to make this declaration?
9. What “fear” do you believe prevents individuals from coming out? What other
motivations may prevent people from coming out?
10. What does the Frank Ocean case study teach you about hip-hop, homophobia, and
the LGBT movement? What can be done to change the homophobic culture of
hip-hop?
11. How do these lessons relate to your life?
27
Another Perspective
Frank Ocean’s coming out acted as a case study on how sexuality is talked about and
handled in the hip-hop community. Does the way we talk about LGBT rights change if a
white, heterosexual man is talking about the issue?
VIDEO OF MACKLEMORE – SAME LOVE
https://www.youtube.com/watch?v=hlVBg7_08n0
1. How does the message change when the race and sexuality of the speaking is
altered?
2. Which was more effective at conveying their emotions and meanings?
3. Which one is more identifiable to you? To whom do you relate and why?
4. Do these messages help or hurt efforts to create dialogue about LGBT rights?
Why or why not?
5. Where else is this issue talked about in hip-hop?
6. What are the benefits of an LGBT ally speaking up about rights? What are the
risks?
28
Expert Work: Out of Class Discovery
After experiencing the reader’s theater and dissecting the Frank Ocean case study, what
have other’s said about sexuality depictions in hip hop? Specifically what is the public
saying? To find this out, using popular social media networks (Youtube, Facebook,
Twitter, TUMBLR) examine the comments/response the public has had regarding hip
hop and sexuality.
1. How are these reactions and messages this different from the case study?
2. How are they alike?
3. What or whom besides Frank Ocean’s has queer hip hop and challenge the
dominant heterosexual masculine voice to prevalent in the community?
4. How has the general public responded to these attempst to queer hip-hop?
5. What did you expect to find and were your expectations confirmed?
6. What were you surprised to find?
7. What seems to be the most common theme within the comments?
8. Which comments do you find the most troubling? Why?
29
Reactions of teachers and students to the assignment
When trying new methods of teaching, there is always uncertainty in how to best
employ the new method. We have had some questions in how to conduct a reader’s
theater in the classroom. With the reader’s theater, there may be some apprehension both
for the teachers and students, to reduce this apprehension we suggest assigning students
the parts beforehand so that they may familiarize themselves with the script. The
performance can be done either with the students creating characterizations and
performing the script, or in a traditional table read fashion. We have found the use of a
variety of pieces of literature allows multiple perspectives to be shared concerning the
discussion of the queering of hip-hop. In particular, teachers have reacted positively to
the controversial reactions to Frank Ocean’s coming out. In one instance, we were told
that the controversial reactions helped the class address the difficult subject of
homophobia. Through the use of literature, the homophobic viewpoint can be examined
without any student risking losing face by voicing their own opinions. Furthermore, we
have found that the use of role-playing allows the students to take an active role in the
process and has resulted in excellent discussions post-performance. Role-playing
challenges students’ viewpoints, and forces students to think critically about the topic.
Additionally, we have found that this activity has helped spur classroom debate
concerning the role of coming, and whether or not it is a responsibility of LGBT
members. One teacher told us that the assignment generated discussion concerning
barriers facing the LGBT movement and forced students to confront questions about what
is more harmful to the movement: direct homophobia, or anonymity.
Overall, we have found students to be responsive to this activity. That feedback
30
we have received from students has been powerful. Student did indicate initial
uncertainty about the performance aspect of the assignment, but also indicated that they
enjoyed engaging the materials and found it to be more challenging than a traditional
lecture or seminar style class discussion. Perhaps the most promising feedback came
from a heterosexual male in a class who came up to Amy and said, “I realize why this
[LGBT movement] matters to me now.” The assignment helped the student to understand
that LKBT movement as a social issue as opposed and not an “us versus them” issue.
Many students expressed how they appreciated the fact that “real life” issues being
addressed in the classroom and that we were using texts from the “real world” and not a
textbook. We believe this assignment will help teachers create a new contact space in
which to engage in human right conversations.
31
Bibliography
Ford, T. (Director). (2010). A single man [Motion picture]. United States: Sony Pictures
Home Entertainment.
Dean, T. (2012, July 5). An Open Letter To Frank Ocean From Author Terrance Dean |
Celebrity News & Style for Black Women. Celebrity News & Style for Black
Women | HelloBeautiful. Retrieved March 14, 2013, from
http://hellobeautiful.com/2527155/an-open-letter-frank-ocean-author-terrancedean/
Fekadu, M. (2012, August 23). Hip-Hop's Anti-Gay Tone Shifting After Frank Ocean's
Coming Out. Breaking News and Opinion on The Huffington Post. Retrieved
March 14, 2013, from http://www.huffingtonpost.com/2012/08/23/hip-hops-antigay-tone-frank-ocean_n_1824494.html
Flobot Lyrics. (n.d.). AZ Lyrics. Retrieved January 10, 2013, from
www.azlyrics.com/lyrics/flobots/theresawargoingonforyourmind.html
Gitlan, J. (2012, July 25). Protest Today: A Field Guide | the activist voice. the activist
voice | a place to be heard. Retrieved March 14, 2013, from
http://theactivistvoice.wordpress.com/2012/07/25/protest-today-a-field-guide/
Hate Tweets to Frank Ocean. (2012, July 13). Hate Tweets to Frank Ocean. Retrieved
February 14, 2013, from http://hatetweetstofrankocean.com/
Hudson, W. (2012, July 16). Waymon Hudson: Gay Chicago TV Tackles LGBTQ
Visibility and the Many Faces of Coming Out. Breaking News and Opinion on
The Huffington Post. Retrieved March 14, 2013, from
http://www.huffingtonpost.com/waymon-hudson/lgbtq-visibility-coming-
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out_b_1666223.html?view=print&comm_ref=false
Jack Nicholson, Leonardo DiCaprio, Tom Hanks, Denzel Washington, And Daniel DayLewis Come Out As Gay | The Onion - America's Finest News Source. (2012,
July 25). The Onion - America's Finest News Source. Retrieved March 14, 2013,
from http://www.theonion.com/articles/jack-nicholson-leonardo-dicaprio-tomhanks-denzel,28904/
Langellier, K. (1999). Personal narrative, performance, performativity: things I know for
sure. Text and Performance Quarterly, 19, 125-144.
Orbe, M. (2004). Co-cultural theory and the spirit of dialogue: A case study of the 2000–
2002 community-based civil rights health project. In G.-M. Chen & W. J. Starosta
(Eds.), Dialogue among diversities (pp. 191–211). Washington, DC: National
Communication Association.
Ocean, F. (2012, July 4). Thank You's. Frank Ocean Tumblr. Retrieved January 25,
2013, from frankocean.tumblr.com/image/26473798723
Zydek, H. (2006). The Revolution: A Field Manual for Changing Your World. Orlando:
Relevant Media Group.
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Notes on the Contributors
Amy Arellano is a doctoral student in the department of Communication Studies at the
University of Nebraska-Lincoln specializing in rhetoric and public culture and women’s
and gender studies. Amy works on action research, utilizing performance for personal
change. In addition, to teaching for the department Amy also serves as an assistant
director of the university speech and debate team. Prior to coming to the University of
Nebraska-Lincoln, Amy received her bachelor’s degree from University of Texas-Tyler
and her masters in communication from Texas State University. She can be contacted at
[email protected].
Aaron Duncan is the Director of Speech and Debate for the University of NebraskaLincoln and an Assistant Professor of Practice in the department of Communication
Studies. He received his Ph.D. in communication studies from the University of
Nebraska-Lincoln in 2011, with a specialization in rhetoric and public culture. Aaron
received his bachelor’s degree from Nebraska Wesleyan University in 2003 and obtained
a masters degree in communication for Kansas State University in 2005. When not
writing, coaching, or teaching he spends his time at the beck and call of his dog Hines.
He can be contacted at [email protected].
34
The Critical Vocabulary of Rap: the Feminine Voice
Drew Lindsay
The School of the Art Institute of Chicago
One of the goals of this course (“the Critical Vocabulary of Rap”) is to examine whether
the genres we use to classify rap are useful distinctions. For example, if a genre such as
“gangster rap” is classified by subject matter (violence, crime), we will find that genre to contain
a relatively varied group of artists (N.W.A., Outkast, Kendrick Lamar, Black Moon, etc.) The
question, then, is whether the genre term is too sprawling to be useful. With this in mind, one
thing we try to do throughout this course is examine the genre distinctions of hip-hop that
currently exist; we refine them when necessary, and we dispose of them when necessary and
create new ones.
Criticisms of hip-hop frequently center on its explicit content. Because themes like gang
violence and misogyny are some of the more intractable problems in our society today, it is
understandable that critics might have a low tolerance for anything that might be depicted as
perpetuating these attitudes. It is for this reason that we must pay careful attention to how (and
to what end) each artist is dealing with these themes. For example, while it is undeniably true
that there are a number of rap artists who seem to thoughtlessly glorify murder and crime, we
notice a wide variety of others who manipulate these themes toward a variety of creative ends.
We spend some time in class correlating these manipulations with various literary modes:
memoir/autobiography, realist short fiction, and (importantly) parody (to name a few.) Through
this process students will identify artists who seem to “glorify” these themes, artists who tell
cautionary narratives (anti-glorification,) artists who tell “realist” narratives (neither,) and artists
who parody and deconstruct the male “gangster” persona.
Which brings us to “the feminine” in hip-hop. Feminist critic Tricia Rose has suggested
that popular music has (d)evolved to the point where women are essentially confined to two
roles: that of the vixen, or that of the female-gangster.1 She further suggests that the
“empowered” archetype, embodied by artists such as Queen Latifah and Monie Love, has
disappeared from mainstream rap music. We spend the latter third of our course exploring “the
feminine” in rap. First, we attempt to define misogyny, and explore different male rapper’s
relationship toward women. Then we examine the relatively short historical list of female
rappers to determine whether Tricia Rose’s contention is true.
We also add one additional criterion to our examination of women’s roles in rap. Even
the “empowered” archetypal artists have historically been decidedly literal. One question is
whether female rappers are able to (or have) engaged in the parody and performance and
deconstructive attitudes men have taken toward the gangster persona. One way we can explore
this supposed lack of “diversity” in female rap is through the lens of “deconstruction.” Recent
years have shown a rise in rap music that aims to deconstruct the aggressive, masculine
archetype. We should examine mainstream female rappers to see whether they have achieved
the same deconstruction (and resultant diversification) of the “feminine” in rap. We should
explore whether female rappers have the chance to be “weird” in the same way that men do.
1
"Hip-Hop's Herstory." Interview by Farah Chideya. Hip-Hop's Herstory. NPR, 11 June 2007. Web. 25 Mar. 2013.
<http://www.npr.org/2007/06/11/10948084/hip-hops-herstory>.
Unit 1: Defining “Gangster Rap”
(Note: I am including two weeks of work that lead in to our discussion of the feminine. In my
course, we usually examine how the masculine, gangster persona has been effectively
deconstructed by various artists, which will enable our final question of whether that sort of
deconstruction has occurred for a feminine persona.)
FOR EACH WEEK THE STUDENTS ARE ASSIGNED READING, LISTENING, AND
SOMETIMES VIDEOS/FILM. IN THE FOLLOWING FORMAT I HAVE ASKED THE
STUDENTS TO “JOURNAL” ANSWERS TO THE ATTACHED QUESTIONS. IN
ALTERNATE VERSIONS OF THIS COURSE I REQUIRE A TWO-PAGE FORMAL
RESPONSE EACH WEEK TO ONE OF THE QUESTIONS (THE STUDENTS CAN
CHOOSE.)
ALSO – I REQUIRE EACH OF MY STUDENTS TO SIGN UP FOR SPOTIFY
PREMIUM IN ORDER TO LISTEN TO THE ASSIGNMENT MATERIAL.
Week 1:
Read: "The Cultural Assassins - Ch. 14" from Can't Stop Won't Stop by Jeff Chang
Watch: Bastards of the Party, Cle Shaheed Sloan (director)
Required Listening:
(Album) Straight Out of Compton – N.W.A.
(Tracks)
"9mm Go Bang" - KRS-One, Criminal Minded
"6 In The Morning" - Ice T, O.G. Original Gangster
“PSK’ – Schooly D (http://www.youtube.com/watch?v=4478SMAc2qM)
Suggested listening:
Wu-Tang Clan - Enter the 36 Chambers
Mobb Deep - the Infamous
JOURNAL ASSIGNMENT
QUESTION 1: Based on the reading and the listening, how would you define Gangster Rap? Please
reference both the required reading AND the required listening in your journal for full credit.
QUESTION 2: Explore the thematic switch identified by Chang as “the aesthetics of the local.”
WEEK 2
Read: “Ch. 15 – “The Cultural Riot of Ice Cube’s Death Certificate” by Jeffrey Chang
Listen: Album: Death Certificate by Ice Cube
One additional artist of YOUR CHOICE
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JOURNAL ASSIGNMENT:
QUESTION 1: How do you classify Ice Cube’s album (based on the categories we have analyzed thus
far)?
QUESTION 2: Which of the following “thematic” concerns raised by the Chang article do you see as
relevant to the discussion of this album:
-The Aesthetic of the LOCAL (tying hip-hop to PLACE)
-The Aesthetic of EXCESS (the competition to say the craziest thing possible)
QUESTION 3: How does the album that you chose compare to Death Certificate, and/or how does it fit
the term “Gangster Rap?”
QUESTION 4: In what ways can Death Certificate be seen as a departure from his work with N.W.A.?
STUDENT REACTION
I have pretty defined goals in this section, and in the three times I have taught this course the class
discussion has effortlessly arrived at the desired end. The first goal is that we establish a set of specific
themes that we will use to define Gangster Rap. We usually agree upon: gun violence, profit through
crime (frequently drug dealing,) and “place-specific” narratives. There are more options but those
discussions are more complicated than I will go into here.
In the second week, the debate that usually arises is whether or not Cube is “glorifying” the gangsta
lifestyle. At times this has been a heated debate. This is a good album to use to attempt to make that
distinction. While there are some tracks that seem to glorify the gangsta lifestyle, there are an equal
number of tracks that do something different; as an example, some might be seen as cautionary tales, and
some might be simply realist depictions. So this is a good introduction to how artists can manipulate
themes toward a variety of creative ends.
Also – students occasionally suggest that they see Cube as “glorifying” violence because he is not
offering a solution to the situations he is depicting. I don’t necessarily agree with this, first of all. But
this leads to a very important discussion of whether artists (particularly minority artists) have some
requirement to be “positive.”
Required Readings/Films
Chang, Jeff. Can't Stop, Won't Stop: A History of the Hip-hop Generation. New York: St.
Martin's, 2005. Print
Bastards of the Party. Dir. Cle S. Sloan. Perf. Cle Sloan. Fuqua Films, 2005. Netflix.
Supplementary Readings
Ro, Ronin. Gangsta. 1st ed. N.p.: St. Martin's, 1996. Print.
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Paper Assignment
Write a 3-4 page response to the following prompt:
Read: “Deconstruction” by Jack Balkin
Listen: “4 Better Or 4 Worse” – the Pharcyde, Bizarre Ride 2 The Pharcyde
“Cereal Killer” – Method Man and Redman, Blackout
“Earl” – Earl Sweatshirt http://www.youtube.com/watch?v=78_loMbmKJ8
“Yonkers” – Tyler the Creator, Goblin
“Tron Cat” (video) – Tyler the Creator artist, dir. Wolf Haley
http://www.youtube.com/watch?v=R2hexqs1qyA&feature=related
Question: In what ways do the following artists “deconstruct” the masculine
gangster persona?
Student Reaction
Students seem pretty prepared for this discussion. They might not have connected the dots themselves
yet, but they are accustomed to pop artists of recent years who have been decidedly “performative.”
Students recognize the “exaggerated” nature of most of the songs above, and are able to see that in some
way as a comment on gangster rap. This normally leads to a productive conversation about the
definitions of parody and satire.
Unit 2: “The Feminine” in Hip-Hop
Week 1: Defining Misogyny
Note: By this point in our course, we have already encountered numerous albums and hundreds
of tracks that have portrayed some sort of misogynistic attitude. We haven’t yet discussed
misogyny in detail, saving it for this unit, but the following assignment definitely builds off of the
knowledge of the hundreds of songs we have already listened to.
Watch: Hip-Hop: Beyond Beats and Rhymes, dir. Byron Hurt
Listen: Aquemini, by Outkast
Watch: “Tip Drill,” by Nelly (artist,) dir. Solomite
http://www.youtube.com/watch?v=r67xcDqKQYo
QUESTION 1.) How would you define “misogyny” in rap music? Is there a distinction that
should be made between songs about “sex” and songs that “objectify” women? If so, how could
we make that distinction?
QUESTION 2: Explain the different attitudes toward women expressed by Andre and Big Boi in
Aquemini. Explain how each artist relates to your definition of misogyny. Also – argue whether
their attitudes should be taken separately, or combined and discussed as one group.
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QUESTION 3: Based on the music you’ve listened to this semester, is Byron Hurt’s analysis of
rap a fair depiction, or is he cherry-picking “pop” artists who represent the worst of the worst
when it comes to misogynistic attitudes? Quite simply: is hip-hop as bad as the film makes it out
to be?
Week 2: The Female MC
Note: For this week the students are required to watch all of the videos below and do all of the reading,
but I ask them to respond to only one of the questions with a formal two-page response complete with an
introduction and thesis statement.
QUESTION 1: Discuss the evolution of the feminine in rap music as seen through this chronological
group of videos.
Required reading and listening:
“Hip-Hop’s Herstory” (NPR interview with Tricia Rose:) http://www.npr.org/2007/06/11/10948084/hiphops-herstory
“Tramp,” Salt-N-Pepa: http://www.youtube.com/watch?v=yvC3Ee5IAvk
“Paper Thin,” MC Lyte http://www.youtube.com/watch?v=WH5CmB44TaY
“Ladies First,” Queen Latifah https://www.youtube.com/watch?v=_RFh8pjtdQo
“Afro Puffs,” Lady of Rage http://www.youtube.com/watch?v=yNqIJ3e0OJw&feature=related
“You Can’t Play With My Yo-Yo,” Yo-Yo https://www.youtube.com/watch?v=_rJe2tOS90E
“Doo-Wop” Lauryn Hill http://www.youtube.com/watch?v=T6QKqFPRZSA
“Suck My D#ck” (WARNING: EXPLICIT!!!) Lil
Kim https://www.youtube.com/watch?v=2zCGZ4hG8ng
“I’ll Be” (WARNING: EXPLICIT) Foxy Brown http://www.youtube.com/watch?v=mm_T1I29bhs
Question 2: Lauryn Hill and Missy Elliot do not seem to readily conform to either the “gangster” or
the “vixen” – since they are two of the highest selling recording artists of all time, how do they
relate to Tricia Rose’s argument?
Question 3: In our gangsta rap discussion, we hypothesized how gangsta rap might achieve some of
the same goals as the Black Nationalism movement (even if we ultimately judged gangsta rap to be
a perversion of the overall intent of B.N.) Discuss any parallels between this idea and the rise of
Lil’ Kim and Foxy Brown.
Read: “Lil’ Kim’s Personal Feminism” by Micky Hess, pages 445-453
Listen:
“Suck My D#ck” Lil’ Kim https://www.youtube.com/watch?v=2zCGZ4hG8ng
“I’ll Be” Foxy Brown http://www.youtube.com/watch?v=mm_T1I29bhs
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Question 4: Julianne Escobedo Sheperd loves Nikki Minaj, but still suggests that she has a
“retroactive feminism.” Essentially she’s saying that she’s not doing anything new, that she’s
recycling old ideas. Judge that claim based on the following videos (feel free to watch more if you like.)
Is she recycling ideas? Is she “new” in any important (feminist) way?
Read: “Nicki Minaj’s Retroactive Feminism,” by Julianne Escobedo Sheperd
Listen:
“The Boys,” Nikki Minaj feat. Cassie https://www.youtube.com/watch?v=U-5B7p1QD-Q
“Stupid Hoe” (warning: explicit!) https://www.youtube.com/watch?v=T6j4f8cHBIM
Question 5: Examine these three contemporary artists and discuss whether they repeat old
narratives, break new ground, etc.
Related (required) listening:
“Pu$$y,” Iggy Azalea https://www.youtube.com/watch?v=A2GCga7YLCU
“1991,” Azalea Banks https://www.youtube.com/watch?v=0oM_9ca8hxE
“War Talk,” Dominique Young Unique https://www.youtube.com/watch?v=W2y7SCw0VTw
“Werkin Girls,” Angel Haze, http://www.youtube.com/watch?v=szj7efHG-00
Student Reaction
The general consensus among students is that the view of women in hip-hop is markedly uncomplicated.
Coming back to our question about whether women are allowed to be “weird” in the way that men are, it
would seem that Nicki Minaj would in many ways fit that description. Students generally tend to think
that she uses her sexuality in ways that are un-interesting, however. Azalea Banks is frequently cited by
my students as the female artists they think of as the most deconstructionist.
Note: I have taught this course to everyone from freshmen to seniors (undergrad.) Depending on the
sophistication of the students, more complicated texts can be integrated. As an example, this final week
can be discussed in terms of 2nd and 3rd wave feminism, and students can be given anything from a basic
primer definition of these terms to a more complicated scholarly article.
REQUIRED READINGS/FILMS:
Hip-Hop Beyond Beats and Rhymes:. Dir. Byron Hurt. Perf. Byron Hurt. God Bless the Child
Productions, 2006. DVD.
"Hip-Hop's Herstory." Interview by Farah Chideya. Hip-Hop's Herstory. NPR, 11 June 2007.
Web. 25 Mar. 2013. <http://www.npr.org/2007/06/11/10948084/hip-hops-herstory>.
Hess, Micky. "Lil' Kim's Personal Feminism." Icons of Hip Hop Volume Two. N.p.: Greenwood,
2007. 445-53. Print.
Sheperd, Julianne E. "Nicki Minaj's Retroactive Feminism." Salon. N.p., 12 July 2012. Web. 25
Mar. 2013. <http://www.salon.com/2012/07/31/nicki_minajs_retroactive_feminism_salpart/>.
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SUPPLEMENTAL READINGS
Rose, Tricia M. "Bad Sistas: Black Women Rappers and Sexual Politics in Music." Black Noise.
Hanover: Wesleyan UP, 1994. 146-82. Print.
Fleetwood, Nicole Troubling Vision: Performance, Visuality, and Blackness (2011)
Notes on Contributor
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Gender and Sexuality Representations in Hip Hop Music
Dr. Tia C.M. Tyree
Howard University
1. Summary and rationale for assignment
When MTV aired in 1981, music videos took the stage in pop culture in a way that they had not
prior to the channel’s inception. Since this time, music videos have become a staple in the music
industry, and they provide the opportunity for record companies to promote new artists and
songs. However, as a key part of pop culture, music videos, more specifically rap videos, have
come under criticism, because they increasingly present often negative and controversial
representations of women. Further, research shows youth learn about sexuality, gender roles, and
relationship from them.
As rap music is an international medium that influences how Black women are viewed in the
world, it is critical for us to investigate its lyrics and representations. How gender and sex are
characterized is a contentious space in Hip Hop. However, the analyses of voice and
representation are critical in any mass medium. With rap music historically dominated by men,
what they say about and do with women is often studied and predominately couched as
misogynistic. In the rare moments when women gain the stage, what women say and do is
worthy of investigation and discussion.
This assignment is a critical examination of how rappers and consumers view gender and
sexuality representations and messages in rap music, but it also forces students to understand
how research paradigms shape what investigators uncover in their studies. What also makes this
innovative is the classroom discussion is based on key readings, but students must come to
classroom with the visual (videos or pictures) and audio to support or refute the messages and
ideas within the readings. What happens is a not only a well-informed discussion, but a robust,
symphonic experience where student presentations create what is a “classic battle” of visual and
audio arguments based on actual rap images and sounds. With students’ lives entrenched in the
Internet’s offerings, this assignment allows them to use digital resources to find texts that bring
the ideas, concepts and discussions to life. It connects in a way that a traditional lecture cannot
do.
The outcomes of the assignment are as follows:
1) Identify the research traditions (or paradigms) that framed a study and explain how it was
beneficial,
2) To think critically of the ways in which gender, sexuality and race shape the foundation,
results and conclusions of an article,
3) To lead a dynamic class discussion covering the main points of a reading,
4) To research and collect specific visual and audio texts that work to refute or substantiate
findings, theories and/or conclusions within a study, and
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5) To effectively present work orally and within a written scholarly format.
2. Assignment sheets and/or discussion prompts
Students should write a 5-7 page paper summarizing the reading. Depending on the number of
students in the class, the professor can give each student a specific article or cluster articles based
on appropriate topics and provide a group to students for review. With the former, students
should not simply regurgitate the contents of the article. Instead, they should use it as the
foundation to bring forth critical thoughts regarding race, gender and sexuality. Key linkages
between milestones in rap, African American and women’s history, scholarly articles and pop
culture should be included. With the latter, students should also be required to identify the
commonalities among the articles, including findings, conclusions, methodologies and theories.
In addition to the paper, students should create a PowerPoint or Prezi presentation. The goal is to
provide a brief summary of the readings and provide visual - video or pictorial - and audio
representations within rap music or hip hop culture that refute or support key issues within the
readings. For the rap songs, students should be encouraged to not just focus on the content of the
lyrics, but the images within the videos. The goal is to provide the class with the opportunity to
think critically along with the presenter by offering audio or visual texts that facilitate robust
conversations and intriguing connections to findings, conclusions, and implications of the
articles.
3. Full citations of readings
Aubrey, J.S., Hopper, K.M., & Mbure, W.G. (2011). Check that body! The effects of sexually
objectifying music videos on college men’s sexual beliefs. Journal of Broadcasting & Electronic
Media, 55(3), 360-379.
Conrad, K., Dixon, T., & Zhang, Y. (2009). Controversial rap themes, gender portrayals and skin
tone distortion: A content analysis of rap music videos. Journal of Broadcasting & Electronic
Media, 53(1), 134-156.
Frisby, C.M. & Aubrey, J.S. (2012). Race and genre in the use of sexual objectification in female
artists’ music videos. Howard Journal of Communications, 23(1), 66-87.
Gan, S., Zillmann, D., & Mitrook, M. (1997). Stereotyping effect of Black women’s sexual rap
on White audiences. Basic and Applied Social Psychology, 19(3), 381-399.
Goodall, N.H. (1994). Depend on myself: T.L.C. and the evolution of Black female rap. The
Journal of Negro History, 79(1), 85-93.
Kistler, M.E, & Lee, M.J. (2010). Does exposure to sexual hip-hop music videos influence the
sexual attitudes of college students. Mass Communication and Society, 13, 67-86.
Lena, J.C. (2008). Voyeurism and resistance in rap music videos. Communication and
Critical/Cultural Studies, 5(3), 264-279.
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Oware, M. (2009). “A man’s woman”?: Contradictory messages in the songs of female rappers,
1992-2000. Journal of Black Studies, 39(5), 786-802.
Morgan, M. (2005). Hip-hop women shredding the veil: Race and class in popular feminist
identity. The South Atlantic Quarterly, 104(3), 424-444.
Phillips, L., Reddick-Morgan, K., & Stephens, D.P. (2005). Oppositional consciousness within
an oppositional realm: The case of feminism and womanism in rap and hip-hop 1976-2004. The
Journal of African American History, 90(3), 253-277.
Reid-Brinkley, S.R. (2007). The essence of res(ex)pectability Black women’s negotiation of
Black femininity in rap music and music video. Meridians, 8(1), 236-60.
Roberts, R. (1991). Music videos, performance and resistance: Feminist rappers. Journal of
Popular Culture, 25(2), 141-152.
Rose, T. (1990). Never trust a big butt and a smile. Camera Obscura, 23, 109-131.
Ross, J.N. & Coleman, N.M. (2011). Gold digger or video girl: the salience of an emerging hiphop sexual script. Culture, Health, & Sexuality, 13(2), 157-71.
Stephens, D.P. & Few, A.L. (2007). Hip-hop honey or video ho: African American
preadolescents’ understanding of female sexual scripts in hip-hop culture. Sex Cult, 48-69.
Stephens, D.P. & Phillips, L.D. (2003). Freaks, gold diggers, divas and dykes: The sociohistorical development of African American female adolescent scripts. Sexuality and Culture, 7,
3-47.
Turner, J.S. (2011). Sex and the spectacle of music videos: An examination of the portrayal of
race and sexuality in music videos. Sex Roles, 64, 173-191.
Tyree, Tia C. M. (2009). Lovin’ Momma and Hatin’ on Baby Mama: A Comparison of
Misogynistic and Stereotypical Representation in Songs about Rappers’ Mothers and Baby
Mamas. Women and Language, 32(2), 49-58.
Wallis, C. (2011). Performing gender: A content analysis of gender display in music videos. Sex
Roles, 64, 160-172.
Zhang, Y., Dixon, T.L., & Conrad, K. (2009). Rap music videos and African American women’s
body image: The moderating role of ethnic identity. Journal of Communication, 59, 262-278.
4. Full citations and/or links to media used with assignment
Students can select from the list of videos below to prompt class discussions within their
presentations. Students can select videos that support or refute ideas, concepts, theories,
conclusions or findings in the articles. It is not mandatory to select from the list. Students are
encouraged to find other videos, pictures or audio files.
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*WARNING: Some videos below have explicit lyrics and/or adult content. Students should have
the option to excuse themselves from viewing any video or picture as well as viewing any
photograph, and presenters should prompt the class, if any content has explicit lyrics and/or
adult content.
2pac - Dear Mama
http://www.youtube.com/watch?v=Mb1ZvUDvLDY
2 Live Crew - Me So Horny
http://www.youtube.com/watch?v=u6VTj7LhCtE
Azelia Banks - 212
http://www.youtube.com/watch?v=i3Jv9fNPjgk
Jay-Z - Girls Girls Girls
http://www.youtube.com/watch?v=R0yrm2eI2bM
Juicy J - Bands A Maker Her Dance
http://www.youtube.com/watch?v=AI0gk2KJeho
Lauren Hill - Doo Wop (That Thang)
http://www.youtube.com/watch?v=T6QKqFPRZSA
Lil Jon & the Eastside Boyz - Get Low
http://www.youtube.com/watch?v=IYH7_GzP4Tg
Lil Mama - Lip Gloss
http://www.youtube.com/watch?v=S5ck6TJQ5Ow
Lupe Fiasco - Bitch Bad
http://www.youtube.com/watch?v=C3m3t_PxiUI
Missy Eliot - We Run This
http://www.youtube.com/watch?v=t2oIhJG7rXA
MC Lyte - I'm Not Having It
http://www.youtube.com/watch?v=A2IZtD9gfzg
Nelly - Flap Your Wings
http://www.youtube.com/watch?v=_f8L6OYHZFo
Rah Digga - Imperial
http://www.youtube.com/watch?v=0KdV6t78lHE
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Salt-N-Pepa - Independent
http://www.youtube.com/watch?v=1I8J7Q1ho-4
Salt-N-Pepa - Ain’t Nuthin’ But a She Thang
http://www.youtube.com/watch?v=na3u8S9tF9o
Three 6 Mafia - Baby Mama
http://www.youtube.com/watch?v=tA-oNFI7yJc
Trina - That's my attitude
http://www.youtube.com/watch?v=TlKkTQ7zP6c
Queen Latifah - Unity
http://www.youtube.com/watch?v=f8cHxydDb7o
Webbie ft. Lil Boosie and Lil Phat - Independent
http://www.youtube.com/watch?v=jCUiGArhW2M
Yo Yo - You Can't Play With My Yo Yo
http://www.youtube.com/watch?v=MZ-UEn11aDs
5. Reaction of students and teacher to assignment
Students appreciated the opportunity to see visual representations of the ideas and concepts
within many of the articles. In addition, some artists within the scholarly articles are pioneers of
rap and are not necessarily ones students know or see often. This assignment allows students to
experience their work in a setting that facilitated in-depth conversations about the impact of their
work when it was released and as it relates to current rap artists. Finally, after the first few
presentations, students seemed challenged by the opportunity to bring forth their translations of
the articles and the visual representations they deemed most appropriate.
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Notes on Contributor
Dr. Tia C. M. Tyree is the Interim Chair and Associate Professor at Howard University within
the Department of Journalism. She is currently the Public Relations Sequence Coordinator for
Department of Journalism, and she teaches several graduate and undergraduate courses,
including Introduction to Public Relations; PR Writing II; PR Writing I; SR: Friends, Follower
and Social Media; SR: Event Planning; CapComm Lab and Issues in Mass Communication
Theory and Research. As an instructor, she primarily teaches students the history, theory,
practices and issues of contemporary public relations; informs students about corporate
communications, media and community relations, action and communication strategies; and
teaches students how to create key public relations information products, including media
advisories, press releases, promotional items, fact sheets and media packets. Her research
interests include African American and female representations in the mass media, hip hop, rap,
reality television, film and social media. She has published articles in several journals, including
Women and Language, Howard Journal of Communications, Journalism: Theory, Practice &
Criticism and Journal of Black Studies. She is also co-author of the upcoming book – The HBCU
Experience.
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